It’s new features tie into the new features of After Effects and Premiere Pro, most excitingly with COLOR MANAGEMENT FOR H.264 and HEVC on Import and Export! WOOHOO FInally working around Apple’s fucked up color on the mac, and like DaVinci before it, letting you export compressed video with proper metadata tags so that it will display correctly whoever is looking at it! I literally have problems with this every single day, so I can’t wait to give it a try. This is game-changing if it works!
Also included is Color Management for Sony XAVC-L-HDR and Faster Rendering for After Effects with multi-frame rendering, should be 3x as fast! Woohoo!
Adobe has updated Premiere Pro as they go into the onine Adobe Max this morning. I have to say I much enjoy being able to see all of the classes online.
*We get unified version numbers across the video suite, so all compatible versions will now be version 22 (should’t they have just gone back to 1?)
*Speach to Text Improvements with improved accuracy for pop culture terminology and better formatting of dates and numbers
*Simplify Sequences has moved from Beta, I still think this could have been a great spot to add in unmerge, since merging audio clips is totally broken.
*Color management for H.264 and HEVC H.265, WHICH IS HUGE! You can now include correct color space metadata on exports, like DaVinci has allowed you to do for a while. So people on Macs should actually see what your show will look like correctly.
*Improved 10 bit HEVC playback and improved M1 support (lets hope it includes M1 Pro and Max support)
•Color management for Sony XAVC-L-HDR
•A new colorized vectorscope
•Improved Histogram
•Lumetri curve refinements
•Restore trim selection in the timeline
•Improved Media relinking for Team Projects
•Improved Bars and Tone for both HDR and SDR.
•New GPU Acceleration for effects, Alpha Glow, Mirror, Reduce Interlace Flicker and strobe are GPU accelerated.
AND IN BETA
•REMIX powered by Adobe Sensei, to intelligently re-arrange songs so that music matches your video, instead of cuts and crossfades let it do it itself. I can’t wait to try this out.
•Auto Tone, better auto color in Lumetri, a good start point.
*Speech to Text on-device without the internet for faster results.
*Improvements for new Import Mode, which is good because it needs a whole lot of work.
So I have written about Sofi Marhsall’s Ultimate Rea-Time Editing Workflow (That Won’t Break the Bank) and just wanted to give a little Update on how i have updated that workflow because of my setup, and the difference for me is that I run a older Blackmagic UltraStudio 4k as my video out, which I run to a Samsung HDTV.
I followed her instructions and got a BlackMagic Web Presenter, but got the UltraHD version so I can do 4K video, and it does seem to work just fine with either the front or back USB C unlike the older version she used.
And because I am not using USB-C to HDMI cable for my setup, which is also going to eat up a more of your video ram (displaying as a second monitor. Instead I ran a BNC Cable from my UltraStudio 4k into my BlackMagic Web Presenter, while my Samsung is running out of the HDMI out of the UlraStudio 4k. Sofi’s version is setting up the web presenter as a second monitor, but I am already using a second monitor on my computer, and would rather run the direct output from my UltraStudio from Premiere (or DaVinci or AVID) into my Web Presenter, and you don’t need to setup the web presenter as a second monitor.
My Web Presenter lives on top of my UltraStudio 4K (the Emotive is a DAC I use for listening to music off my computer) someday I will get a rack mount to put them in.
Whatever you are playing back shows up on both monitors for me, and I can see on my TV, which is the black line at top with the power cable running down the wall, and the usb cable to the computer allows the web presenter to act as a USB web cam.
Premier Video Output Settings
Premiere Pro Menu > Preferences > PlaybackMy playback settings set to Blackmagic Playback with Disable Video Output when in background disabled!And the Blackmagic playback setup settings for my UltraStudio 4K
So in Premiere I am playing back through Blackmagic playback via my UltraStudio 4K, and I have disable video output when in background (which I usually have checked, disabled, so the signal keeps going to the webcam constantly.
Now again differing from Sofi Marshall here I have the audio setup differently, as she is using Loopback to send the audio to the Web Presenter, but I am using Premiere Pro directly. I am still using Loopback, but differently as I will show.
So for Premiere Pro I go to Premiere Pro > Preferences > Audio Hardware to setup direct audio to the UltraStudio 4K.
Premiere Pro Menu > Preferences > Audio HardwareAudio Hardware Preferences, default output to Blackmagic Ultrastudio 4k and Map Output to Blackmagic PlaybackDefault Output selections, I actually usually use Edirol UA-1D which I have an optical cable coming out of to my Edirol and an Emotica AMP for my Speakers as well as a FireStone Audio Headphone amp, and use blackmagic to show sound sync on my TV, but I can live with the sync being the same as the computer monitor most of the time, but for this I use send the audio to the Blackmagic UltraStudio 4k.
I then follow Sofi Marshall’s directions on creating Loopback Device 2, which combines the iMac Microphone (her external microphone) and the audio from the Web Presenter.
I have created my mic for zoom, the “Mic & web Presenter” with the External Microphone and the audio from the Web Presenter 4K combined.
So here is my loopback microphone setup so my cut can be shown with audio and they can here the microphone.
Now since I am running the audio directly to monitor my audio for me it would be coming out of my TV which would then show up in my microphone, so I can’t have that, so I must mute my HDTV, and I want to hear my edit through my headphones. My headphones are running through my Edirol though could be just the headphone jack, so I have made a loopback to send Premiere to my Edirol.
I have also made a setting for DaVinci exactly the same but with DaVinci.
These send my audio from Premiere or DaVinci to my headphones. Now we need to setup zoom.
Zoom Menu > PreferencesZoom Preferences ? Video for Camera I have selected my Web Presenter 4K as the video, with original ratio and HD.And Zoom Preferences for Speaker I send the audio to my Edirol (which could be headphone jack) and for the microphone I select Mic & Web Presenter which I created in Loopback.And make sure to turn on High-Fidelity Music Mode and Stereo Audio.
Now you can do a zoom using my video out from Premiere and Web Presenter. Thanks to Sofi Marshall, as I would have never done this without her.
Well worth the read. I have delved into DaVinci Resolve myself, at first just for it’s coloring, but then I have also done editing in it.
And I tend to agree with what he says that is better in premiere, basically the interface itself, the ability to control the interface, the integration with After Effects, and the Essential Graphics Panel. I would of course also add the Essential Sound panel as it is a great start for a mix.
The interface control for me is huge. I love how in Premiere like AVID before it there are so many ways to do the same thing, keyboard shortcut or using the mouse, while I feel like DaVinci is much more forcing you a single way with many commands only available through keyboard shortcuts. And you can’t add your favorite controls to the interface, what they chose is what you get.
The article doesn’t talk about it, but I also want to talk a little about the Cut Page. It is a very Final Cut Pro X addition to DaVinci, for quick cutting a rough cut with smart edits and transitions and it is what their Speed Editor interface is totally focused on. While I do like that it will take a folder and string everything together so I can zip through footage quickly, I can do that in Premiere with Stringout sequences. And I spend so much less time on the initial edit than on the actual edit, that I would much rather focus more on the edit page than the damn cut page. Sorry, end of rant on the cut page.
DaVinci is so powerful, but you have to learn their way to do everything, and that is my complaint with Final Cut Pro X. I would much rather have multiple ways to do things, and you can find the way that suits your editing style. I feel like the engineers win here over the actual users. And I hate that.
As with all PVC Articles well worth a read if you are looking for a new machine this year.
The Mac world is really in so much flux with only consumer oriented Apple Silicon M1 chips released so far. Personally I am so looking forward to what pro Apple Silicon will do, but will certainly have to wait for that.
Maxon has updated most of it’s apps, Cinema 4D to 25, Redshift, Trapcode to 17, he VFX Suite to 2 and included new plug-in Bang!, Magic Bullet to 15 and Universe to 5.
Trapcode 17 is updated.
Features the long-requested ability to work with Particular and Form in the same 3D space by bringing Form behaviors to Particular. The release also sees upgrades to the Flocking simulation with the addition of On Predator/Prey Contact and Team designations as well as improvements to system organizational capabilities in the Designer. Form also includes many quality-of-life updates and all Trapcode tools now support Adobe’s multi-frame rendering.
Includes the newly acquired Bang plugin, a fully procedural 3D muzzle flare generator that enables the quick and easy addition of muzzle flashes to your footage. Bang gives full creative control over the look of muzzle flares, including position, shape, color, decay and duration. Recent enhancements include more realistic Glows, Heat Blurs and Age Control refinements. VFX 2 also introduces compatibility with Apple’s Metal Graphics API for Primatte Keyer for optimal performance on supported systems.
Incorporates compatibility and optimization for Apple Silicon-powered Macs, as well as support for Multi-Frame Rendering (MFR) in Adobe After Effects. In addition, Cosmo, Mojo, Film, Renoiser now take advantage of Apple’s Metal Graphics API for optimal GPU performance on Mac.
Both Magic Bullet and Universe 5
now support Multi-Frame Rendering (MFR) in Adobe After Effects. *Denoiser has not been updated in this release.
The most intuitive 3D application interface just got even better with a new modern skin, user interface enhancements and an expansive preset system for optimizing your workflow. All-new Spline Import options allow users to easily use Illustrator, PDF and SVG vector artwork in their 3D scenes. Capsules allow anyone to tap into the power and flexibility of Cinema 4D’s Scene Node system, with plug-in-like features directly in the Classic Object Manager. And the New Spline and Data Integration functionality can be used to build powerful Capsule Assets.
A new rendering mode that provides near real-time rendering performance while using the same shaders, lights, and efficiently co-existing with the standard Redshift render engine in the same DCC and scene. Perfect for artists to use during the development process of a project or even final render if the project does not need the same amount of fidelity as standard Redshift.
II have been using Red Giant for years, still hate that you only get 1 install vs 2 you had before Maxon bought them, but there suite is still something I use almost every day.
